This video has been circulating around the internet on fancy blogs and such for a while so I thought I’d feature it here too but with a twist. I love almost all of Wes Anderson’s films and objectively he has to be on any list of the most brilliant directors of this or maybe any generation. This supercut highlights his fondness for symmetry and centered shots which I also love, although I have to say I’m a bit more enamored with the long tracking shots from the dolly. The problem for me lies not in the video itself but in the buzz surrounding it and generally all Wes Anderson films. No one except Wes Anderson ever gets any credit for them. It’s as if he were a one man crew. Now clearly with a director who has such a specific style that is bound to happen, and it’s warranted to a point but specifically with this video and all talk of how Wes Anderson’s films are shot one other man needs to always be mentioned and that man is Robert Yeoman. Yeoman has been the head cinematographer for every single one of Wes Anderson’s live action films as well as the brilliant Squid & Whale and many others from various directors. He’s a member of the American Society of Cinematographers and has won an Independent Spirit Award for Best Cinematography. So you can bet that he has quite a large influence on how Anderson’s stories get told on screen; he doesn’t simply point the camera where Wes tells him to before hitting record like you would think from his lack of name recognition. In the interview below, Yeoman talks about his recent collaborations with Wes Anderson as well as some films that inspired him pursue his craft and his preference for 16mm.
The Grand Budapest Hotel is a great film and if you weren’t able to catch it in theaters, it just came out on blu-ray. Just remember when watching, yes, it is Wes Anderson’s vision but there’s only so much vision can do. At some point, someone has to step up and move the camera and Robert Yeoman is the humble man who gets up to do just that, every single time.